This philosopher called pictorial symbol systems "syntactically and semantically dense" and elucidated two categories of works of art, based on whether it could be said that they were forged, allographic and autographic, and contrasts the relationships of "resemblance" and "representation." The doctoral thesis of this author of Languages of Art was reworked into The Structure of Appearance and outlined a calculus of individuals that did not invoke set theory. He did, however, use set theory in a work written with Leonard that has provided the starting point for much of American mereology; that decision reflects his work with Lesniewski in fou
This philosopher called pictorial symbol systems "syntactically and semantically dense" and elucidated two categories of works of art, based on whether it could be said that they were forged, allographic and autographic, and contrasts the relationships of "resemblance" and "representation." The doctoral thesis of this author of Languages of Art was reworked into The Structure of Appearance and outlined a calculus of individuals that did not invoke set theory. He did, however, use set theory in a work written with Leonard that has provided the starting point for much of American mereology; that decision reflects his work with Lesniewski in founding contemporary nominalism. This philosopher is best known for an argument given contra Hempel's confirmation theory that introduced two concepts that were lacking in projectibility, but otherwise seemed as natural as other qualifiers. For 10 points, name this philosopher who addressed a "new riddle of induction" in Fact, Fiction, and Forecast and introduced the hypothetical colors "grue" and "bleen."
This philosopher called pictorial symbol systems "syntactically and semantically dense" and elucidated two categories of works of art, based on whether it could be said that they were forged, allographic and autographic, and contrasts the relationships of "resemblance" and "representation.
{Nelson Goodman}